Actor: Katie Saylor

JULIE ZORN: All right, you might as well know. We went to dinner at the Flamingo Bar and Grill. And by about 10:00 we were playing footsies under the table and having dessert like the good old days. And then we went to the hotel. And then it happened.

AGENT AGAR: What happened?

JULIE ZORN: We balled, and we balled, and we balled until he dropped dead.

AGENT AGAR:Touché. Let's go to lunch!

It took me a while to scrub my mind after the rape-fest that was Nude Nuns with Big Guns, and yet for some reason, I still wanted to dive right back into a sexploitation flick. Maybe I just wanted to see one done right. Who knows?

Maybe I just like boobs. Yeah, it's probably that.

Moving along.

Mixing Mad Science and Sex is never a bad thing in my book. What could go wrong? I mean other than creating an army of sex-crazed killer bee-women. Psychotic sex-crazed-Stepford's aside, you've got nothing to worry about. Following a formula startlingly similar to a sexualized version of Jaws (1975), the film's story unfolds as a group of horny scientists are killed through "sexual exhaustion" until a curfew and forced abstinence is put in place. However, much like for Sarah Palin's children, the abstinence plan works about as well as you would think and the deaths continue until the movie switches gears into a classic 1950's monster movie complete with radiation and mutant bees.

And boobs.

Unlike our previously mentioned heavily armed Catholics, the film's level of misogyny never really rises above the traditional pat on the head of the self-assured male, who is then promptly seduced and killed by a killer bee-woman. Sure, the women here (either innocent and ignorant or seductive and murderous) are nothing more than sex objects, but that's the entire point; what with scenes carefully lit to hide the face but reveal the breasts and buttocks. It's easy to see what the main selling point of the film was (hint: It's not the compound EYES).

But is it any fun?

And the answer is absolutely.

From the opening notes of the insect-rific fa-la-la score by Charles Bernstein, to the closing momentous destruction of the film's doomsday device, there is never a moment where you won't marvel at the cheap 70's take on a b-grade sci-fi monster flick.